R&J
By Ildiko Susany ArtsHub | Monday, July 18, 2011
Richard Causer and Riannon McLean in R & J. Photo: Justin Nicholas Atmosphere Photography.
It’s the classic tale – as old as time itself – of two star-crossed lovers and their fated battle to remain in
each other’s arms, re-imagined as raw and expressive contemporary dance.
Derived from Shakespeare’s tragic love story Romeo and Juliet, Natalie Weir’s R & J takes us on the
intense emotional rollercoaster that is love and heartache. Set across three different eras and featuring
three different couples, the production re-envisions the classic love story via three contrasting, filmic
vignettes: the contemporary grungy nightspots of Fortitude Valley, the Renaissance setting of the
original Shakespearean text, and within 1950s suburban bliss. Each episode, while operating separately
from the other, is seductively tied together, penetrating to the heart of passion and highlighting, with
poise, vitality and finesse, the physical and emotional core of the lovers’ relationships.
The dancers are agile and graceful, performing dynamically as an ensemble and executing graceful
manoeuvres with poise and ease. The contemporary dance style of the performance is a perfect tool for
telling the classic story, and Weir’s choreography is by turns vulnerable, intense and passionate. The
dancers take on her choreography with zeal; a wonderful opportunity to see each dancer within the
company shine in their solo performances.
The set and lighting are invaluable in creating the smoky ambience for this journey through joy and
heartache, with components of the set (described by Weir herself as “deceptively simple and simply
spectacular”) moving and transforming like fate itself to tear the lover’s apart or unite them in death.
The element that unites all the pieces of this production is the live music. The band Topology plays to
the same heartbeat as the lovers, creating a medley of jazzy melodies to match the action; the perfect
complement to the story.
A masterful work of contemporary dance telling a timeless love story, R & J is best encapsulated in the
words of the Bard himself: “Parting is such sweet sorrow, that I shall say goodnight till it be morrow.”
Rating: Four and a half stars
Expressions Dance Company and QPAC present
R & J Choreographed by Natalie Weir
Music composed by John Babbage
Design by Bruce McKinven
Dancers from Expressions Dance Company: Rhiannon McLean, Richard Causer, Elise May,
Samantha Mitchell, Jack Ziesing and David Williams and featuring students from QUT and
ACPA
Music by Topology (with guest pianist Marialy Pacheco)
Playhouse, QPAC
July 15 – 23
Running time: Approximately 1 hour without interval
Australian
18/07/2011
Page: 17
By: Cameron Pegg
Section: Arts & Entertainment
Region: Australia Circulation: 129166
Type: Australian National
Size: 192.00 sq.cms
Frequency: MTWTF
FIONA CULLEN
Richard Causer and Riannon McLean dance the first act
Triple treat of Bard's
star-crossed lovers
DANCE
118a
Expressions Dance
Company. Playhouse
Theatre, QPAC, Brisbane.
July 15.
CHOREOGRAPHER Natalie
Weir has created three radically
different riffs on Shakespeare's
most famous play, Romeo and
Juliet, in her latest work R&J. It's
the kind of approach that author
Michael Cunningham might take
were he a dance maker, and it's
an occasionally thrilling, if
uneven, experience.
Riannon McLean and Richard
Causer are a good physical match
in the first act, their arms and feet
locking together like a puzzle
after meeting on a nightclub
dance floor. The movement is
acrobatic and intricate, and as
McLean is tossed high into the air
it's reminiscent of circus
ensemble Circa, which shares
Expressions' training base at
Brisbane's Judith Wright Centre.
Copyright Agency Ltd (CAL) licenced copy
After an intense courtship, the
traditional roles are reversed in
the death scene, with the
accompanying solos
unnecessarily long.
A more orthodox second
section, set in the 1800s, sees Jack
Ziesing and Samantha Mitchell
launch themselves towards each
other in mid-air; their bodies
supported by an army ofjunior
dancers representing the warring
families. Bruce McKinven's set of
rectangular blocks becomes a
graveyard as lighting designer
David Walters illuminates them
from within. The choreography
takes on a more lyrical quality: at
one point David Williams
(playing the role of fate), supports
his weight on the lovers'
shoulders as he swings between
them.
In the final act, a 1950s couple
(Williams and Elise May) cuddle
on the couch in a moment of
domestic bliss. Weir transforms
their daily routine into an
absorbing drama as they dance in
a looping sequence of increasing
speed. Struck by a spare and
beautiful ending, the piece is the
surest of the three in concept and
execution, but paradoxically, the
most distant from the story that
inspired it.
By virtue of Topology's live
accompaniment, R8,1 forms part
of the 2011 Queensland Music
Festival. John Babbage's score
effectively underpins the
movement, particularly when
pianist Marialy Pacheco partners
Mitchell during a soft, searching
solo in the second act. The start of
the nightclub sequence feels
mismatched, however.
Weir is clearly inspired by new
collaborations, with her 2010
work Where the Heart Is
nominated for several Helpmann
and Australian Dance Awards.
While the parts of R8,./ don't
unite as successfully, the
production reveals her vision to
grow the company, and with it
the audience for contemporary
dance in Brisbane.
CAMERON PEGG
Until July 23. Tickets: $25 to $52.
Bookings:136 246.
Ref: 00108938585
R&J - Expressions Dance Company
From our guest reviewer, Alys Gwillem
Samantha Mitchell and Jack Ziesing.
Photography by Justin Nicholas.
As the elderly gentleman sitting next to me so beautifully put it, “People in
society, just don’t talk the way Shakespeare wrote. Eloquence is dead”. Well in
the day and age of ‘OMG’ and ‘BRB’ there is no evidence of eloquence in dance
dying; Natalie Weir and Expressions Dance Company certainly thieved thy air
from thy lungs with their adaptation of R&J.
Performed in QPAC’s Playhouse, R&J depicts three distinct scenarios, a modern
setting (2000’s), a historic setting (1800’s) and a vintage setting (1950’s). Each
is cleverly connected with one theme: the romantic and tragic Romeo and Juliet.
‘Valley’, the first act, is set in 2011. “How do ladies and gentlemen meet these
days”? They go clubbing (how poetic)! This is the predicament in which we find
our modern day Romeo (Richard Causer) and Juliet (Rhiannon McLean).
Grooving to a bluesy rhythm, a sea of night clubber’s clad in black moving
languidly, eventually revealing a vision in red, and the man who catches her eye.
True to the era in which it is set, the choreography itself is very modern, lusty
and breathy. The timeframe allows for indiscreet displays of affection that were
unheard of during actual Romeo and Juliet days. It was evident that the two
dancers have worked together for years, the connection was there, and there
was no fear; Mclean threw herself into Causer’s arms with abandon.
Awkwardness was absent, as with most contemporary pieces, these dancers
found themselves in compromising positions, but the combination of their
chemistry and professionalism left me too awestruck to snigger like a 7 year old.
Again, the here and now elements were featured in the pairing; Causer was not
just a forklift. McLean was doing her fair share of lifting and throwing about, with
equal strength, which made for really interesting dynamics (girl power)!
Fate played by David Williams, completed the old love triangle scenario. With
his leery and pervy behaviour, ‘Fate’ ensures the ruination of a perfect love story
of the 21st century. The brawl between both the male performers was the
highlight of the act; it was raw, robust, and masculine. None of the fake
punching nonsense, if Romeo wanted Fate to go, then one swift, forceful kick
sent him flying, to the point where I was convulsing with Williams as if I too
were getting kicked in the gut. So as not to appear overly gushing I will say it
was a shame that when Romeo and Juliet were dying, shallow breathing wasn’t
used to give the death some finality. In saying that, I can’t walk up a hill without
panting, so after that exertion of energy, the dancers would probably have
passed out had they denied their lungs of oxygen!
Act Two, Verona, is more true to the original piece, transformed into dance by
Natalie Weir. Set in the 1800’s, the derision between the Montagues and
Capulets is evident from the outset. There is a magical moment, when Romeo
(Jack Ziesing) and Juliet’s (Samantha Mitchell) eyes meet, shortly disturbed
by the medalling houses. Despite this they never tire to look into each other’s
eyes, throwing themselves into a wall of people, being waltzed around the room
until finally they can be dancing together.
The piece predominantly takes place in a graveyard. To begin with I felt that the
enchantment wasn’t there, though perhaps this was purposeful, representing the
hesitant love adolescent relationships contain. Their first kiss established the
bond and I found myself watching Mitchell far more than her partner, realising
that the era had again affected the choreography. The partner dancing involved
only lifting, protecting and showcasing Juliet. For a girl to have the power is just
weird for that time. ‘Fate’ (Williams) again had to burst the love bubble, this
time craftily. Cutting in between a tender embrace, stealing the hand that was
about to caress her love’s face. The most heart-breaking factor was that the pair
couldn’t quite work out what was stopping them; ‘Fate’ was invisible to them. So
similar to the walls of confusion Romeo and Juliet faced in Shakespeare’s play.
Finally, ‘Fate’ manages to trap Juliet into an illuminated box (absolutely breath
taking) and from what I could tell, she had passed out. To this, the selfless,
love-drunk Romeo reacts in suicide-trapping himself into a similar coffin. As is
always the way, Juliet manages to free herself… but it is too late. A real Titanic
moment was depicted when Mitchell was on top of the coffin and Ziesing was
inside both of them engaged in a futile attempt to smash the glass between
them, I was on the edge of my seat willing them to be together. Eventually,
Juliet manages to crawl inside the coffin and she is reunited with her love in
heaven, appearing as though the pair had cheated fate and reunified. Then ‘fate’
calmly intertwines their arms and closes the coffin, not before showing a magical
reflection of the lovers. The symbolism and themes within Verona were
charming; I take my hat off to Designer, Bruce McKinven and Choreographer,
Natalie Weir. They treated the audience with respect and intelligence
throughout the show.
To conclude, came R&J Act Three, Vintage. I felt that this piece was an anticlimax when compared to the previous two acts. With its subtle hints of the
Romeo and Juliet theme, it attempted to scale the mountain but failed to
summit. I would say it almost needed to be a completely separate piece. That
said, Vintage was impeccable and effortless, from its choreography, props and
its performances, just stunning. Elise May our 1950’s Juliet and David
Williams Romeo, had the perfect amount of detachment and affection. May was
completely at Williams’s disposal true to a fifties house wife. Until things became
monotonous, represented by a repetition sequence to die for, twisting and
turning, involving the props and briefcase. Leaving for work, coming back,
watching television, over and over until… Romeo didn’t return to his Juliet. May’s
grieving and mourning was moving, with no fake drama, or “oh woe is me” self
pity portrayed.
Natalie Weir, in my eyes, is a creative genius. Her choreography is an aesthetic
treat. She doesn’t stoop to the level of the crowd-pleasing movements like leg
mounts, and Russian jetes. The intertwining of the dancers, the lifts and the
rolls; all so understated yet delicious for the eyes. R&J succeeded in its own
right, it had big shoes to fill competing with her previous work Where the Heart
is. For a night of stunning visuals, live music, clever themes and a bit of
everybody’s favourite Shakespeare play thrown in, Expressions Dance
Company’s R&J is perfect entertainment.
R&J
SEASON: 15 - 23 July
VENUE: QPAC Playhouse
BOOKINGS: 136 246 or book online at qtix.com.au
Courier Mail
19-Jul-2011
Page: 46
Arts & Entertainment
Market: Brisbane
Circulation: 201687
Type: Capital City Daily
Size: 548.30 sq.cms
Frequency: MTWTFS-
Tragic love transcends time
Three tantalising, separate
performances bring the
differentages of love alive
in a modern take on the
story of Romeo and Juliet
Weir may
be a romantic at
heart, but she is also
a realist.
The
Expressions
Dance Company artistic direc-
NATALIE
tor and choreographer recognises love doesn't need to be as
grand or great as Romeo and
Juliet's to be tragic.
Viewed through that prism,
R&J presents three versions of
love inspired by the starcrossed lovers' legend: erotic,
romantic and pragmatic (mirroring the ancient Greek
models of love).
This is worth knowing be-
forehand, because projecting an
expectation that each section
will match Shakespeare's emotional form and content only
the second, Verona, does will
diminish the work's impact.
Bookending that are a mod-
em take on the theme, Valley,
which captures the heightened
attraction from a nightclub's
sensory stimulus, and Vintage, a
where
suburban
portrait
passion has given way to comfortable familiarity.
Each casts a contrasting
mood and tone, yet all generate
poignancy and pathos.
Weir introduces fate as
a
character (David Williams), ap-
pearing as a triangulating dramatic force.
In Valley, Williams can be
seen as both representational
and a real interloper who starts
a brawl trying to get in on the
action with the would-be lovers,
Riannon McLean and Richard
Causer.
William's entrance solo
is
mesmerisingly clean, precise
and sharp, and the trio's fight
choreography is brilliant and
exciting.
One of the hallmarks
of
Weir's movement, exhibited in
each section, is the intricacy of
stones, a tomb and coffin. But
there were two key moments
her partnering and seamless
that took me out of the mo-
the dancers, who are nearly
suspending my disbelief.
Fate is absent in the everyday
portrayed
by
existence
and surprising transitions. To
work they rely on the courage,
exactitude and athleticism of
ment, when my logic overrode
flawless.
Williams and Elise May in the
concluding piece. They tickle
Contrasting with Valley's explosive, sexually charged dynamism is the atmosphere of
gentle purity pervading the
1800s setting for Verona's divided households.
This tender section, featuring
Jack Ziesing and Samantha
Mitchell, creates exquisite sym-
and tease each other, content
within the framework of rou-
tine. The sweet sorrow of parting with his daily exit to work is
bolic images of the lovers: on
pedestals, floating on and sus-
eventually replaced by an aching emptiness, as life goes on
and one endures, alone.
John
Babbage's
commissioned score, performed live
on stage by his group Topology
Here fate is a sinister figure
phone with piano and strings),
pended mid-air, and flying.
(featuring Babbage on saxo-
who literally comes between
the lovers, batting away their
adds another dimension of class
and sophistication to the
production.
R&J is love interrupted, love
you can't live without and love
you have to. This is Romeo and
Juliet for our times.
limbs as they try to touch,
before uniting them in death, a
picture of love eternal.
Bruce McKinven's inspired
set of representational opaque
boxes is at its most evocative
here, also serving as head-
EXQUISITE Jack
Eesf na and Semen.
Mitchell in Verarra..
Picture: .kma Searle
R&J
Expressions Dance Company
Playhouse, QPAC
Until July 23
Reviewed: July 16
Reviewer: Olivia Stewart
Copyright Agency Ltd (CAL) licenced copy
Ref: 109030712